João Luiz Vieira

In Esdras Baptista's film archives, kept at his home for decades, one can feel the fervor of those who believed in a new tomorrow. Filmed in Brazil in the early 1960s, in the heat of a libertarian political movement, the filmmaker's images materialize the incandescence of collective desires at the historic moment of their emergence. Utopia, though unattainable, is never a mere abstraction. A force that mobilizes actions and feelings, it constitutes the impetus necessary for human existence.

Two young film students, Pedro and George, who spend more time watching films than studying, go to the video store to pick up some films for another weekend of student procrastination. There, the two rent a film that was mistakenly delivered by a member of a family of sadistic cinephiles. Unaware that they have an incriminating DVD, Pedro and George run the risk of participating in a bloodthirsty film where they will be hunted.

A small-scale romantic love story, shot with a digital camera in black & white and in a documentary style. We follow the conversation between two lovers, each on a different side of the world; he is in Recife, she is in Kyiv. On one side is dark, on the other light, but both experience the same emotions and hence feel nearness and contact.